A Case Study about the Victims of a Perfidious Industry
Ihave said it before. Allow me to go a little further into this case.
This music video could be important for you and me to reflect on:
The whole case of Michael Jackson before his death in 2009 and his alleged pedophile tendencies point backwards towards those who brought the case = the pervaded-pedophile Hollywood and its drug-addicted cousin, the equally pedophile music industry.
There is a very definite pattern of events and characteristics that recur. When these high-profile Hollywood or music icons choose to fall outside their prescribed role and refuse to play the ugly game, they suddenly appear on the list of people who have fallen into disgrace, are declared unwanted and therefore do not have long to live in. In music it happened for Michael Jackson, Prince and Whitney Houston. The circumstances surrounding their death are all peculiar and filled with unexplained incidents, obscure investigative processes, tightly controlled media outlets, shutdown of investigation procedures, u-name-it. And by the way, that happened to George Michael, Jeff Buckley, John Lennon, Kurt Cobain, Bob Marley, Jimmy Hendrix, Janis Joplin, Frank Zappa, and possibly David Bowie? Should we also add Elvis Presley, Billie Holliday and Marylin Monroe to the list + a long list of dead? And what happened to Amy Winehouse? And what about Prince?
We can also go outside the music genre, and then the list explodes. Lady Di was a pop icon who stepped over the line and lost her life for it. Kennedy and King were political and spiritual-social leaders who did the same and with the same impact. What happened to film director Stanley Kubrick while he was doing Eyes Wide Shut revealing the rituals of the satanic elite? A recent example is Tanzanian President John Magufuli, who exhibited the covid scam – he ‘disappeared’ and has not been seen since together with a list of 10+ African political leaders. Apparent another mega-industry can do whatever they want down there in The Heart of Darkness.
So – Michael Jackson, like him or not. Maybe you are not into pop music in that category at all, which is just fine. Personally, I was not one of his fans, but what we find difficult to deprive of the icon, is his ability to renew the specific genre with all its elements, his physical ability as a dancer on a stage, his superb musicality, his explosive output and his high-energy use of his iconic status = enormous impact. And then we can think all sorts of things about the cultic phenomenon and the worship hysteria that figures like him create around him – or rather: get created around them.
However, a far better and more rewarding question is: What did he use his iconic status for, and how did he get along with his clients so that – let’s just put it bluntly – he provoked them to take his life after first character assassinating him and projected all their own perverted filth onto him, since he now refused to play on their terms?
Some of the answers you get when you have seen the video with just those glasses on.
You need to hear the text and see the expression in the video:
All I wanna say is that, they don’t really care about us.
What do global fascists think about that message with that attitude in that visual outlet?
What do they think about the pop icon turning his iconic status with the enthusiastic crowds into an exctatic dance for freedom, children, women, drummers, street people and poor people from the Brazilian favelas with a finger pointed at fascist police with blue helmets = UN = the global fascist mercenary – they have it not seen with mild eyes, for the pop singer with the hip hip movements (it was Elvis who started that show) exhibited them BigTime by taking their iconography and flipping it backwards!
The music and visual medium in synchronous motion is a strong cup of tea. Global fascists see it for the same reason as their privileged domain, their monopolized field. The Nazis and the Bolsheviks knew all about visual-musical propaganda techniques as early as 100 years ago. They ḱnew all about, how powerful the overall medium is, and NO ONE should dare to use the medium without their approval! That was exactly what pop icon Michael Jackson thought he should do, since he now mastered the medium so supremely. It cost him his life.
But wait – it gets better. Or worse if you like it.
See also the version from the tour recorded in Munich in 1997:.
It’s even clearer. Michael Jackson’s and the choreography’s visualization of the fascist world empire with boot trampling, corruption, blackmail (it’s in the text itself) and everything related is infallibly unmistakable. And then all of a sudden: A break with a pre-recorded symphonic quote from Modest Mussorgsky’s Pictures of an Exhibition: The Great Gate in Kiev – three years before the global fascists attempted their second Russian coup by the fall of the wall – and a choir singing: Every Day Create History! – it’s definitely disturbing.
The audience at the concert may not have understood the deep reference.
They captured the grandiosity of the expression.
But what they caught in their popular simplicity was:
All I wanna say is that, they don’t really care about us.
My enemies are your enemies, your enemies are my enemies.
We’re in this filth together, and I’m on your side against them.
I will give you the voice, that you don’t know how to have.
It captured the audience.
The fascists did the same, and the next day they convened a meeting on what to do about the problem – is my qualified guess.
The solution came years later, when they hired a confused single mother and bribed her to fire false accusations of pedophilia. What was it, he slipped into another pop text?
Jew me, sue me… It’s tough, right? The Kabal does not like that kind of slap.